2007年6月29日

我的B片 - The Wild One


繼續談B級片。

其實類似《玩命飛車殺人狂》的仿舊片在90年代流行過,都是由塔倫天奴首先帶起的。《Pulp Fiction》是其代表作。接著的《Jackie Brown》玩七十年代黑人電影。《Kill Bill》則大玩日本"女囚"、"修羅雪姬"的復仇片類型。

其實小弟也玩過仿舊B級片。那就是01年的《The Wild One》,概念來自日本60年代日活、鈴木清順等一系列的黑白黑幫片,再加入一點點粵語長片的元素。雖然簡單、粗糙,但勝在好玩!(不要介意小弟又一次宣傳自己的作品!食住個熱潮嘛!)



筆者當年撰寫的簡介:
http://www.stanleyng.net/07022004.htm

有關報導:
http://www.fanhall.com/show.aspx?id=185&cid=10


為再次掀起B級片潮流兼宣傳新作,《索女喪屍機關槍》的導演羅拔洛迪格斯聯同德州SXSW電影節舉辦一個名為"Grindhouse Trailer Contest"的比賽。呼籲影迷自行仿製舊B級片的預告片。比賽的參加者眾,而且作品質素相當高。不妨一看!

http://www.youtube.com/view_play_list?p=26C65E7F837E2E7A



有關SXSW電影節"Grindhouse Trailer Contest"


Grindhouse Poster

2007年6月28日

呂奇之名 - 呂奇艷情作品



早前談過塔倫天奴與洛迪格斯的新作《玩命飛車殺人狂》與《索女喪屍機關槍》片名來自七、八十年代呂奇的艷情作品。除了那種"三件頭"式名字,那些片名還經常使用到一些非常地道的港式用字,例如"叻女"、"串女"、"夠薑"、"夠格"等等!非常有型!

以下是作品片單:

  • 偷情四響砲 (1985)
  • 大鱷群雌 (1984)
  • 追女三十六房 (1982)
  • 追男仔 (1982)
  • 串女.人渣.妙嬌娃 (1981)
  • 叻女正傳 (1981)
  • 怨婦·淫娃·瘋殺手 (1980)
  • 夠格女郎 (1979)
  • 名流·浪女·夠羗妹 (1979)
  • 非男飛女 (1978)
  • 財子.名花.星媽 (1977)
  • 變態女殺手 (1977)
  • 男妓女娼 (1976)
  • 名女人奇異錄 (1976)
  • 巴黎艶遇 (1975)
  • 神女蕩婦綽頭王 (1975)
  • 墮落經 (1975)
  • 瘋狂大笨賊 (1974)
  • 女人面面觀 (1973)
  • 香港式的偷情 (1973)
  • 丹麥嬌娃 (1973)
  • 蕩女奇行 (1973)
  • 蕩女神偷 (1972)



當中要一提的片名,是79年的《夠格女郎》(市面上有售),其英文名字是"The Foxy Ladies"。沒錯!就是Jimi Hendrix 的名曲《Foxy Lady》!





呂奇的作品大多由邵氏投資(所以現在買得到!),而且通常起用同一個班底。女演員總離不開艾蒂、凌黛(呂奇妻)與邵音音,男演員最經常出現的是韋弘(貌似巴士阿叔)。呂氏的導演技藝著實很一般,從沒有突破之處。所編的故事亦很老套(以粵語片的思維來寫!),而且說教得近乎偽善。所以,之前有人曾以他與Softcore色情大師Russ Meyer來作比較,我認為實在是不適合的。

至於,Russ大師的風格是怎樣的?他日另文再述!

以下是一篇呂奇近年的專訪。非常難得!

台北獨家專訪 呂奇直認掛念陳寶珠 「她應該找個伴﹗」

2007年6月25日

B片之名 - 索女.喪屍.機關槍、玩命.飛車.殺人狂





正當香港的影迷都在猜:究竟兩大鬼才昆頓塔倫天奴與羅拔洛迪格斯的新作《Grindhouse》何時在港上畫?將會分兩部片上畫,還是一齣過?究竟改個什麼中文譯名好?跟國內、台灣譯作《刑房》?還是,老套地直譯"恐懼地球"(Planet Terror)?、"死亡證據"(Death Proof)?還是更老套的"危險XX"?(對照塔倫的前作《危險人物》、《危險關係》),改造"危險公路"?.....


毋須再你猜我估,今天經過地鐵站,一切已有答案!


兩大鬼才的新作分兩齣上映,分別譯作《索女.喪屍.機關槍》以及《玩命.飛車.殺人狂》,還以「2部至型至癮話題作輪住打孖上」作賣點……


這個片名改得真夠好!不知是出於何許人的神來之筆?它的好,在於大玩B級片的概念。驟眼看,它是鍾鎮濤的舊歌《香腸.蚊帳.機關槍》,查實真正的概念來自呂奇的一眾70年代情色B級片子《怨婦.狂娃.瘋殺手》、《財子.名花.星媽》、《名流.浪女.夠薑妹》等,以"三件頭"名正言順地"點題"(而真正來源則是古龍小說《流星.蝴蝶.劍》)。


現在,電影發行商的譯者以六組詞,套用在兩位鬼才的玩o野新作之上,簡單道出了B級片、Cult片的精神,亦勾起了老一輩對昔日看禁忌片的回憶!如果入戲院看《索女.喪屍.機關槍》及《玩命.飛車.殺人狂》,會否令你懷著似去看呂奇情色片的罪惡感?


筆者實在敬佩譯者的天才,也難掩興奮之情!即時興起,膽敢以B級片式的宣傳語句,讚揚一下這個譯名:


坦蕩、簡約、夠
以B級片之

赤裸裸賣弄暴力色

實行睇到你眼"擎擎"!





筆者口述電影筆記,談呂奇兩齣作品《怨婦.狂娃.瘋殺手》、《財子.名花.星媽》

2007年6月24日

YouTube恩仇 - 暨 筆者作品集



一段不堪回首的經歷!

筆者舊的YouTube Account,名為「videocult」,竟被YouTube當局吊銷了,原因是我多次違規。事緣我經常將下載了的電影預告片上載,但原來很多片段是有性愛、露點的鏡頭。("撞板"最多次的是池玲子主演的那一系列Pink Movie。) YouTube某日寄來email通知:「因你犯規多次,你的account已被吊銷了。」我曾嘗試回信解釋,苦苦哀求,又說自己是YouTube Fans,又說自己支持電影藝術,但都無功而回……

天啊!我以前辛辛苦苦上載的作品呀!「口述筆記」呀!通通都沒有了!沒辦法了,唯有重新再開一個account。現在已不敢再濫Upload電影預告片了,免得又再被吊銷。

所以,筆者在這裡奉勸各位:玩YouTube,請遵守秩序!

口述筆記 - Vol:13 - 四套Cult片與一套尖叫的經典

 

第十三集

主持:史丹利五

 

Female Yakuza Tale 極道女流氓傳說 (1973)

導演:石井輝男

主演:池玲子

 

Girls Boss Guerilla 女番長 (1972)

導演:鈴木則文

主演:池玲子、杉本美樹

 

 

 

 

Die Sklavinnen 錢奴 (1976)

導演:傑斯佛朗哥 Jesus Franco

主演:Lina Romay

Snake Dancer 蛇舞孃 (1976)

導演:Dirk DeVilliers

主演:Glenda Kemp

Screaming Masterpiece 吶喊經典 (2005)

導演:Ari Alexander Ergis Magnússon

演出:BjorkSigur RosSlowblowMum

 


 

評述





 

下載至MP3機收聽

第十三集:"4 Cult Flicks & A Screaming Masterpiece"

(5.48 MB)

click按「另存目標」

 


 

重點:

  • <女番長><極道女流氓傳說>——日本"Pink Movie"經典作,兩大"cult-icon"池玲子與杉木美樹主演。美國雜誌《Asian Cult Cinema》絕頂推介!

  • 七十年代歐洲B片界的耶穌 — Jesus Franco二百多套作品之一<錢奴>。女主角依然是其夫人Lina Romay。整齣片女角色穿著衫的時間不多,然而,有劇情的時間也不多,佔片最多的是裸女與性愛場面。

  • <蛇舞孃>,新DVD廠牌"Mondo Macabro"在菲林垃圾堆發掘出七十年代在南非轟動一時的影片,片中記載著一段性解放的歷史。主人公是美艷的白種女子Glenda Kemp,其傳奇故事由她本人親自演繹。

  • <吶喊經典>帶你遊冰天雪地、人跡稀少的冰島,看島上悠久的音樂歷史怎樣帶動近年冰島搖滾的興盛。此片證明:Sigur RosBjork的尖叫確實是冰島獨有的產物!

 


  

早熟的cult-icon池玲子

  

池玲子的看家本領——打到甩衫!

  

另一齣女番長

 

女番長!俠義女騎士

  

密切留意!Mondo Macabro ,美國新DVD廠牌。專出世界垃圾怪雞片

菲律賓侏儒片、寶萊塢驚慄片…共冶一爐!

網站: http://www.mondomacabrodvd.com/

 

原來冰島的搖滾樂已有1000年歷史!音樂史都要被改寫。

 

詩格洛絲 Sigur Ros

 


  
<女番長>

 

 

 
Mondo Macabro 出品的寶萊塢(Bollywood)恐怖片介紹

- Mondo Macabro公司提供 -

 

 

 

推薦欣賞!!!

life and times of Jess Franco - production promo

B級片耶穌 Jess Franco作品介紹 + 訪問

 

 

 

 Screaming Masterpiece 預告片

 

 

 

 

 

 

 (刊登日期:2007319)

——轉載自原網站「史丹利五電影筆記

2007年6月23日

冇好死 (8/4/2001)



8/4/2001


電影節終於開鑼,但由於不是對很多片有興趣,加上時間不容許,選不下什麼片,沒有預買戲票,看看那日心情好才即場買飛罷。今天拿起了小冊子一看,見到韓國片《冇好死》沙田九點場,急急忙便衝了去看。

昨日看了一套很灰暗的《德國零年》,今日看一套很狂暴的。這套《冇好死》,真的是可歸納入極端電影或cult一類型,因為整套片可謂由頭打到尾,毫無人性、人道可言。影片由四段組成,A、C段是導演的早年的個別短片,B、D段則是後補,連貫成一個較為有系統的故事,但總括來說,故事可說是為打而打,段段起碼有一兩場大廝殺,其中最後一段的末場群毆,更是血腥得叫人慘不忍睹,勸喻心靈弱小者避而不看,因為連我這個看慣「大場面」的變態佬,也有點兒喘不過氣。

導演是有點才華,除了每個武打場面處理學足港產片外,其餘段落皆有聲有色,如第二段玩玩驚嚇,第四段大群毆的場面調度也有水準。我最欣賞的是第三段,一兵一賊,向觀眾道出警察/黑幫的辛酸,談談自己的個人經歷,在每場中間加插雙雄碰頭於停車場內,展開歇斯底里式的困獸惡鬥,打到飛起。這段看得特別過癮。

我說這片像港產電影的原因是它的故事風格很像港片,武打指導亦似成龍、洪金寶式的散打,而片中的人物都是一些粗口爛舌的古惑仔,想必導演很受港片影響罷。不知這片的演員是否都是跆拳道高手,否則這麼「勁」的打鬥怎可不受重傷?

這類無什意義,為打而打的暴力片,我始終有點抗拒,一來它不像《A Clockwork Orange》、《第一類型危險》那些有點說教、反省的。也不像《Terror Firmer》那般「有咁盡去咁盡」的脫離現實,或以死人殺人斷肢血加內臟作笑料。《冇好死》是那些很寫實式的暴力,活生生的暴力,我不太鼓勵。


《冇好死》片段


——轉載自原網站「史丹利五電影筆記

2007年6月22日

切腹 (4/4/2001)


4/4/2001

這個月有線電影二台的焦點導演是日本的小林正樹。我以前曾經看過他的< 怪談>,是他最為人所熟悉的作品,今晚有線播放的是<切腹>,由日本演技派巨星仲代達矢主演。

故事講述一個落泊武士,為了找錢救家裏病重的妻兒,聲言要在一大戶人家的門口切腹自盡,而希望這戶人家能給他錢打發他走。但豈知這大戶人家不肯給他錢,更強迫他要剖腹自盡,更把他奚落一番。他的武士養父兼外父(仲代達矢)誓死要為他報仇,假裝自己也要找這家大戶進行切腹儀式,然後大開殺戒。


這個故事不是要宣揚武士道精神,相反,編劇希望是將這兩個潦倒的武士,來把日本所謂光榮的武士道精神大加諷刺。仲代達矢的演老武士,老氣橫秋。始終覺得仲代達矢最有「戲」的是他雙眼。片中的武打場面不算多, 只有片末的幾場高手對決與大混戰,其中一場對決是模仿了<姿三四郎>般,在強風凜冽雜草叢生的山上比鬥。不過相比來說,這場面的氣勢不及黑澤明。


《切腹》預告片



——轉載自原網站「史丹利五電影筆記

2007年6月19日

B王專訪 - Lloyd Kaufman On CNN - 06/05/06



這段來自CNN的電視片段,是一個關於成名前的荷里活明星的節目。節目訪問了Troma的創辦人Lloyd Kaufman,是因為諸如奇雲高士拿、森姆積遜、比科卜科頓等大明星,原來其最早期的演出在Troma 的出品中找到。 Lloyd 手上拿著的《Toxic Avenger 》小說,則由現已打入主流的導演James Gunn(近作為《魔蟲口入》)寫序 ,因James曾替Troma工作。而《衰仔樂園》的作者Trey Parker、《Hostel》的導演Eli Roth 也是Lloyd Kaufman的好友。


雖然提攜了不少今日之星,可是Lloyd始終享受著獨立製片的自由。可能對Lloyd而言,成為B級片的"王",總好過成為大電影企業的"卒仔"吧。但無可置疑的是,Lloyd已成為了傳奇!


Lloyd Kaufman On CNN - 06/05/06

2007年6月18日

朝花夕拾 (13/3/2001)




13/3/2001

網友劍舞映小姐很迷夏文汐(還記得誰是夏文汐嗎?),推薦我看夏小姐與方中信主演的《朝花夕拾》,小弟在偶然的機會下買到這片的錄影帶,只消五元。

《朝花夕拾》,很文藝,很優雅的片名啊!當然!影片是才女亦舒的原著小說改編,可能是楊凡《玫瑰的故事》成功的關係,那陣子有好幾套亦舒 小說的電影,有一套由應屆亞姐黎燕姍主演的《喜寶》,也有方中信的演出,我在亞視週末下午一點場看過一次,很難頂,頗悶。

《朝花夕拾》也一如亦舒風格,是一個老套的愛情故事,但當中不乏新意。故事講述2047年,夏文汐飾演A6262,在一次意外回到50年前,即 1987年的香港,巧遇上太子爺方中信,兩人戀上,最後...當然你也估到...6262要回到2047年,兩人生離死別,很是淒涼。

這些老套愛情故事,喊苦喊忽的那種,真的可以使多愁善感的女孩子落淚,但對我來說,卻成為一個惹笑得可以的喜劇,《玫瑰的故事》也是那一種。不知為何那個時候這類片也有巿場?若是現在,真是票房大毒葯。

總覺得港產的科幻片有點不倫不類,技術有限,《朝花夕拾》有關末來的房間設計、服飾皆像是五十年代荷里活科幻片的那樣滑稽,呀!像是Ed Wood那些!


朝花 鄺美雲 電影<朝花夕拾>主題曲




夏文汐


——轉載自原網站「史丹利五電影筆記

2007年6月15日

求知若飢 - 喬布斯史丹福大學演說(中文字幕版)



曾張貼蘋果(Apple Inc.)主席喬布斯(Steve Jobs)2005年在史丹福大學的演說。獲得的反應不俗,也有很多有心人連結此貼文。筆者本人也十分喜歡喬氏的這篇講話,實在希望更多朋友可以從中得到激勵與啟發,尤其希望青年人能夠喬布斯的奮鬥故事。故筆者特別製作一條中文版影片,將演講稿的中譯文配為影片的字幕。


謹希望熱心人士,將此片段傳揚開去,讓更多人認識喬布斯,借鑒他的成功之道,同時學懂「求知若飢,虛心若愚」的進取精神。


=======


YouTube - 2 Parts


Google Video 一氣呵成版



=====


演講詞 (中譯本)



今天,很榮幸來到各位從世界上最好的學校之一畢業的畢業典禮上。我從來沒從大學畢業過,說實話,這是我離大學畢業最近的一刻。今天,我只說三個故事,不談大道理,三個故事就好。

第一個故事,是關於人生中的點點滴滴如何串連在一起。

我在里德學院待了六個月就辦休學了。到我退學前,一共休學了十八個月。那麼,我為什麼休學?

這得從我出生前講起。

我 的親生母親當時是個研究生,年輕未婚媽媽,她決定讓別人收養我。她強烈覺得應該讓有大學畢業的人收養我,所以我出生時,她就準備讓我被一對律師夫婦收養。 但是這對夫妻到了最後一刻反悔了,他們想收養女孩。所以在等待收養名單上的一對夫妻,我的養父母,在一天半夜裡接到一通電話,問他們「有一名意外出生的男 孩,你們要認養他嗎?」而他們的回答是「當然要」。後來,我的生母發現,我現在的媽媽從來沒有大學畢業,我現在的爸爸則連高中畢業也沒有。她拒絕在認養文 件上做最後簽字。直到幾個月後,我的養父母保證將來一定會讓我上大學,她的態度才軟化。

十七年後,我上大學了。但是當時我無知地選了一所 學費幾乎跟史丹佛一樣貴的大學,我那工人階級的父母將所有積蓄都花在我的學費上。六個月後,我看不出唸這個書的價值何在。那時候,我不知道這輩 子要幹什麼,也不知道唸大學能對我有什麼幫助,只知道我為了唸這個書,花光了我父母這輩子的所有積蓄,所以我決定休學,相信船到橋頭自然直。當時這個決定 看來相當可怕,可是現在看來,那是我這輩子做過最好的決定之一。

當我休學之後,我再也不用上我沒興趣的必修課,把時間拿去聽那 些我有興趣的課。這一點也不浪漫。我沒有宿舍,所以我睡在友人家裡的地板上,靠著回收可樂空罐的退費五分錢買吃的,每個星期天晚上得走七哩的路繞過大半個 鎮去印度教的Hare Krishna神廟吃頓好料,我喜歡Hare Krishna神廟的好料。就這樣追隨我的好奇與直覺,大部分我所投入過的事務,後來看來都成了無比珍貴的經歷。舉個例來說。當時里德學院有著大概是全國最好的書寫教育。校園內的每一張海報上,每個抽屜的標籤上,都是美麗的手寫字。因為我休學了,可以不照正 常選課程序來,所以我跑去上書寫課。我學了serif與sanserif字體,學到在不同字母組合間變更字間距,學到活字印刷偉大的地方。書寫的美好、歷 史感與藝術感是科學所無法掌握的,我覺得這很迷人。

我沒預期過學這些東西能在我生活中起些什麼實際作用,不過十年後,當我在設計第一台麥金塔時,我想起了當時所學的東西,所以把這些東西都設計進了麥金塔裡,這是第一台能印刷出漂亮東西的電腦。

如果我沒沉溺於那樣一門課裡,麥金塔可能就不會有多重字體跟等比例間距字體了。又因為Windows抄襲了麥金塔的使用方式,因此,如果當年我沒有休學,沒有去上那門書寫課,大概所有的個人電腦都不會有這些東西,印不出現在我們看到的漂亮的字來了。當然,當我還在大學裡時,不可能把這些點點 滴滴預先串連在一起,但在十年後的今天回顧,一切就顯得非常清楚。

我再說一次,你無法預先把點點滴滴串連起來;只有在未來回顧時,你才會明白那些點點滴滴是如何串在一起的。所以你得相信,眼前你經歷的種種,將來多少會連結在一起。你得信任某個東西,直覺也好,命運也好,生命也好,或者業力。這種作法從 來沒讓我失望,我的人生因此變得完全不同。

我的第二個故事,是有關愛與失去。

我很幸運-年輕時就 發現自己愛做什麼事。我二十歲時,跟Steve Wozniak在我爸媽的車庫裡開始了蘋果電腦的事業。我們拼命工作,蘋果電腦在十年間從一間車庫裡的兩個小夥子擴展成了一家員工超過四千人、市價二十億 美金的公司,在那事件之前一年推出了我們最棒的作品-麥金塔電腦(Macintosh),那時我才剛邁入三十歲,然後我被解僱了。
我怎麼會被自己創辦的公司給解僱了?

嗯,當蘋果電腦成長後,我請了一個我以為在經營公司上很有才幹的傢伙來,他在頭幾年也確實幹得不錯。可是我們對未來的願景不同,最後只好分道揚鑣,董事會站在他那邊,就這樣在我30歲的時候,公開把我給解僱了。我失去了整個生活的重心,我的人生就這樣被摧毀。

有 幾個月,我不知道要做些什麼。我覺得我令企業界的前輩們失望-我把他們交給我的接力棒弄丟了。我見了創辦HP的David Packard跟創辦Intel的Bob Noyce,跟他們說很抱歉我把事情給搞砸了。我成了公眾眼中失敗的示範,我甚至想要離開矽谷。但是漸漸的,我發現,我還是喜愛那些我做過的事情,在蘋果 電腦中經歷的那些事絲毫沒有改變我愛做的事。雖然我被否定了,可是我還是愛做那些事情,所以我決定從頭來過。

當時我沒發現,但現在看來,被蘋果電腦開除,是我所經歷過最好的事情。成功的沉重被從頭來過的輕鬆所取代,每件事情都不那麼確定,讓我自由進入這輩子最有創意的年代。

接 下來五年,我開了一家叫做 NeXT的公司,又開一家叫做Pixar的公司,也跟後來的老婆談起了戀愛。Pixar接著製作了世界上第一部全電腦動畫電影,玩具總動員(Toy Story),現在是世界上最成功的動畫製作公司。然後,蘋果電腦買下了NeXT,我回到了蘋果,我們在NeXT發展的技術成了蘋果電腦 後來復興的核心部份。我也有了個美妙的家庭。

我很確定,如果當年蘋果電腦沒開除我,就不會發生這些事情。這帖藥很苦口,可是我想蘋果電腦 這個病人需要這帖藥。有時候,人生會用磚頭打你的頭。不要喪失信心。我確信我愛我所做的事情,這就是這些年來支持我繼續走下去的唯一理由。

你得找出你的最愛,工作上是如此,人生伴侶也是如此。

你的工作將佔掉你人生的一大部分,唯一真正獲得滿足的方法就是做你相信是偉大的工作,而唯一做偉大工作的方法是愛你所做的事。

如果你還沒找到這些事,繼續找,別停頓。盡你全心全力,你知道你一定會找到。而且,如同任何偉大的事業,事情只會隨著時間愈來愈好。所以,在你找到之前,繼續找,別停頓。

我的第三個故事,是關於死亡。

當 我十七歲時,我讀到一則格言,好像是「把每一天都當成生命中的最後一天,你就會輕鬆自在。」這對我影響深遠,在過去33年裡,我每天早上都會照鏡子,自問:「如果今天是此生最後一日,我今天要做些什麼?」每當我連續太多 天都得到一個「沒事做」的答案時,我就知道我必須有所改變了。提醒自己快死了,是我在人生中面臨重大決定時,所用過最重要的方法。因為幾乎每件事-所有外 界期望、所有的名聲、所有對困窘或失敗的恐懼-在面對死亡時,都消失了,只有最真實重要的東西才會留下。提醒自己快死了,是我所知避免掉入畏懼失去的陷阱裡最好的方法。人生不帶來、死不帶去,沒理由不能順心而為。

一年前,我被診斷出癌症。我在早上七點半作斷層掃描,在胰臟清楚出現一個腫瘤,我連胰臟是什麼都不知道。醫生告訴我,那幾乎可以確定是一種不治之症,預計我 大概活不到三到六個月了。醫生建議我回家,好好跟親人們聚一聚,這是醫生對臨終病人的標準建議。那代表你得試著在幾個月內把你將來十年想跟小孩講的話講 完。那代表你得把每件事情搞定,家人才會盡量輕鬆。那代表你得跟人說再見了。我整天想著那個診斷結果,那天晚上做了一次切片,從喉嚨伸入一個內視鏡,穿過 胃進到腸子,將探針伸進胰臟,取了一些腫瘤細胞出來。我打了鎮靜劑,不醒人事,但是我老婆在場。她後來跟我說,當醫生們用顯微鏡看過那些細胞後,他們叫了出來,因為那是非常少見的一種胰臟癌,可以用手術治好。所以我接受了手術,康復了。

這是我最接近死亡的時候,我希望那會繼續是未來幾十年內最接近的一次。經歷此事後,我可以比先前死亡只是純粹想像時,要能更肯定地告訴你們下面這些:沒有人想死。即使那些想上天堂的人,也想活著上天堂。

但是死亡是我們共同的終點,沒有人逃得過。這是註定的,因為死亡很可能就是生命中最棒的發明,是生命交替的媒介,送走老人們,給新生代開出道路。現在你們是新生代,但是不久的將來,你們也會逐漸變老,被送出人生的舞台。抱歉講得這麼戲劇化,但是這是真的。

你 們的時間有限,所以不要浪費時間活在別人的生活裡。不要被教條所侷限--盲從教條就是活在別人思考結果裡。不要讓別人的意見淹沒了你內在的心聲。最重要 的,擁有追隨自己內心與直覺的勇氣,你的內心與直覺多少已經知道你真正想要成為什麼樣的人,任何其他事物都是次要的。

在我年輕時,有本神奇的雜誌叫做《Whole Earth Catalog》,當年這可是我們的經典讀物。那是一位住在離這不遠的Menlo Park的Stewart Brand發行的,他把雜誌辦得很有詩意。那是1960年代末期,個人電腦跟桌上出版還沒出現,所有內容都是打字機、剪刀跟拍立得相機做出來的。雜誌內容 有點像印在紙上的平面Google,在Google出現之前35年就有了:這本雜誌很理想主義,充滿新奇工具與偉大的見解。

Stewart跟他的團隊出版了好幾期的《Whole Earth Catalog》,然後很自然的,最後出了停刊號。當時是1970年代中期,我正是你們現在這個年齡的時候。在停刊號的封底,有張清晨鄉間小路的照片,那種你四處搭便車冒險旅行時會經過的鄉間小路。

在照片下印了行小字:

求知若飢,虛心若愚(Stay Hungry, Stay Foolish)

那是他們親筆寫下的告別訊息,我總是以此自許。當你們畢業,展開新生活,我也以此祝福你們。

求知若飢,虛心若愚。

非常謝謝大家。


=======

Text of Steve Jobs' Commencement address (2005)


I am honored to be with you today at your commencement from one of the finest universities in the world. I never graduated from college. Truth be told, this is the closest I've ever gotten to a college graduation. Today I want to tell you three stories from my life. That's it. No big deal. Just three stories.

The first story is about connecting the dots.

I dropped out of Reed College after the first 6 months, but then stayed around as a drop-in for another 18 months or so before I really quit. So why did I drop out?

It started before I was born. My biological mother was a young, unwed college graduate student, and she decided to put me up for adoption. She felt very strongly that I should be adopted by college graduates, so everything was all set for me to be adopted at birth by a lawyer and his wife. Except that when I popped out they decided at the last minute that they really wanted a girl. So my parents, who were on a waiting list, got a call in the middle of the night asking: "We have an unexpected baby boy; do you want him?" They said: "Of course." My biological mother later found out that my mother had never graduated from college and that my father had never graduated from high school. She refused to sign the final adoption papers. She only relented a few months later when my parents promised that I would someday go to college.

And 17 years later I did go to college. But I naively chose a college that was almost as expensive as Stanford, and all of my working-class parents' savings were being spent on my college tuition. After six months, I couldn't see the value in it. I had no idea what I wanted to do with my life and no idea how college was going to help me figure it out. And here I was spending all of the money my parents had saved their entire life. So I decided to drop out and trust that it would all work out OK. It was pretty scary at the time, but looking back it was one of the best decisions I ever made. The minute I dropped out I could stop taking the required classes that didn't interest me, and begin dropping in on the ones that looked interesting.

It wasn't all romantic. I didn't have a dorm room, so I slept on the floor in friends' rooms, I returned coke bottles for the 5¢ deposits to buy food with, and I would walk the 7 miles across town every Sunday night to get one good meal a week at the Hare Krishna temple. I loved it. And much of what I stumbled into by following my curiosity and intuition turned out to be priceless later on. Let me give you one example:

Reed College at that time offered perhaps the best calligraphy instruction in the country. Throughout the campus every poster, every label on every drawer, was beautifully hand calligraphed. Because I had dropped out and didn't have to take the normal classes, I decided to take a calligraphy class to learn how to do this. I learned about serif and san serif typefaces, about varying the amount of space between different letter combinations, about what makes great typography great. It was beautiful, historical, artistically subtle in a way that science can't capture, and I found it fascinating.

None of this had even a hope of any practical application in my life. But ten years later, when we were designing the first Macintosh computer, it all came back to me. And we designed it all into the Mac. It was the first computer with beautiful typography. If I had never dropped in on that single course in college, the Mac would have never had multiple typefaces or proportionally spaced fonts. And since Windows just copied the Mac, its likely that no personal computer would have them. If I had never dropped out, I would have never dropped in on this calligraphy class, and personal computers might not have the wonderful typography that they do. Of course it was impossible to connect the dots looking forward when I was in college. But it was very, very clear looking backwards ten years later.

Again, you can't connect the dots looking forward; you can only connect them looking backwards. So you have to trust that the dots will somehow connect in your future. You have to trust in something — your gut, destiny, life, karma, whatever. This approach has never let me down, and it has made all the difference in my life.

My second story is about love and loss.

I was lucky — I found what I loved to do early in life. Woz and I started Apple in my parents garage when I was 20. We worked hard, and in 10 years Apple had grown from just the two of us in a garage into a $2 billion company with over 4000 employees. We had just released our finest creation — the Macintosh — a year earlier, and I had just turned 30. And then I got fired. How can you get fired from a company you started? Well, as Apple grew we hired someone who I thought was very talented to run the company with me, and for the first year or so things went well. But then our visions of the future began to diverge and eventually we had a falling out. When we did, our Board of Directors sided with him. So at 30 I was out. And very publicly out. What had been the focus of my entire adult life was gone, and it was devastating.

I really didn't know what to do for a few months. I felt that I had let the previous generation of entrepreneurs down - that I had dropped the baton as it was being passed to me. I met with David Packard and Bob Noyce and tried to apologize for screwing up so badly. I was a very public failure, and I even thought about running away from the valley. But something slowly began to dawn on me — I still loved what I did. The turn of events at Apple had not changed that one bit. I had been rejected, but I was still in love. And so I decided to start over.

I didn't see it then, but it turned out that getting fired from Apple was the best thing that could have ever happened to me. The heaviness of being successful was replaced by the lightness of being a beginner again, less sure about everything. It freed me to enter one of the most creative periods of my life.

During the next five years, I started a company named NeXT, another company named Pixar, and fell in love with an amazing woman who would become my wife. Pixar went on to create the worlds first computer animated feature film, Toy Story, and is now the most successful animation studio in the world. In a remarkable turn of events, Apple bought NeXT, I returned to Apple, and the technology we developed at NeXT is at the heart of Apple's current renaissance. And Laurene and I have a wonderful family together.

I'm pretty sure none of this would have happened if I hadn't been fired from Apple. It was awful tasting medicine, but I guess the patient needed it. Sometimes life hits you in the head with a brick. Don't lose faith. I'm convinced that the only thing that kept me going was that I loved what I did. You've got to find what you love. And that is as true for your work as it is for your lovers. Your work is going to fill a large part of your life, and the only way to be truly satisfied is to do what you believe is great work. And the only way to do great work is to love what you do. If you haven't found it yet, keep looking. Don't settle. As with all matters of the heart, you'll know when you find it. And, like any great relationship, it just gets better and better as the years roll on. So keep looking until you find it. Don't settle.

My third story is about death.

When I was 17, I read a quote that went something like: "If you live each day as if it was your last, someday you'll most certainly be right." It made an impression on me, and since then, for the past 33 years, I have looked in the mirror every morning and asked myself: "If today were the last day of my life, would I want to do what I am about to do today?" And whenever the answer has been "No" for too many days in a row, I know I need to change something.

Remembering that I'll be dead soon is the most important tool I've ever encountered to help me make the big choices in life. Because almost everything — all external expectations, all pride, all fear of embarrassment or failure - these things just fall away in the face of death, leaving only what is truly important. Remembering that you are going to die is the best way I know to avoid the trap of thinking you have something to lose. You are already naked. There is no reason not to follow your heart.

About a year ago I was diagnosed with cancer. I had a scan at 7:30 in the morning, and it clearly showed a tumor on my pancreas. I didn't even know what a pancreas was. The doctors told me this was almost certainly a type of cancer that is incurable, and that I should expect to live no longer than three to six months. My doctor advised me to go home and get my affairs in order, which is doctor's code for prepare to die. It means to try to tell your kids everything you thought you'd have the next 10 years to tell them in just a few months. It means to make sure everything is buttoned up so that it will be as easy as possible for your family. It means to say your goodbyes.

I lived with that diagnosis all day. Later that evening I had a biopsy, where they stuck an endoscope down my throat, through my stomach and into my intestines, put a needle into my pancreas and got a few cells from the tumor. I was sedated, but my wife, who was there, told me that when they viewed the cells under a microscope the doctors started crying because it turned out to be a very rare form of pancreatic cancer that is curable with surgery. I had the surgery and I'm fine now.

This was the closest I've been to facing death, and I hope its the closest I get for a few more decades. Having lived through it, I can now say this to you with a bit more certainty than when death was a useful but purely intellectual concept:

No one wants to die. Even people who want to go to heaven don't want to die to get there. And yet death is the destination we all share. No one has ever escaped it. And that is as it should be, because Death is very likely the single best invention of Life. It is Life's change agent. It clears out the old to make way for the new. Right now the new is you, but someday not too long from now, you will gradually become the old and be cleared away. Sorry to be so dramatic, but it is quite true.

Your time is limited, so don't waste it living someone else's life. Don't be trapped by dogma — which is living with the results of other people's thinking. Don't let the noise of others' opinions drown out your own inner voice. And most important, have the courage to follow your heart and intuition. They somehow already know what you truly want to become. Everything else is secondary.

When I was young, there was an amazing publication called The Whole Earth Catalog, which was one of the bibles of my generation. It was created by a fellow named Stewart Brand not far from here in Menlo Park, and he brought it to life with his poetic touch. This was in the late 1960's, before personal computers and desktop publishing, so it was all made with typewriters, scissors, and polaroid cameras. It was sort of like Google in paperback form, 35 years before Google came along: it was idealistic, and overflowing with neat tools and great notions.

Stewart and his team put out several issues of The Whole Earth Catalog, and then when it had run its course, they put out a final issue. It was the mid-1970s, and I was your age. On the back cover of their final issue was a photograph of an early morning country road, the kind you might find yourself hitchhiking on if you were so adventurous. Beneath it were the words: "Stay Hungry. Stay Foolish." It was their farewell message as they signed off. Stay Hungry. Stay Foolish. And I have always wished that for myself. And now, as you graduate to begin anew, I wish that for you.

Stay Hungry. Stay Foolish.

Thank you all very much.


The Whole Earth Catalog
"Stay Hungry. Stay Foolish"

2007年6月13日

獵魔群英 (19/3/2001)


19/3/2001


轉台轉到有線電影台,正在播一套由呂良偉、李賽鳳、胡慧中、吳鎮宇主演的<獵魔群英>。這套片都是那些八十年代中後、九十年代初,極受<英雄本色>影響的動作片。槍林彈雨當然少不了,加上李賽鳳、胡慧中的(一貫)博命演出,跳樓、跳橋等等更少不了,整套片根本不值一提。


但它有什麼價值是在此談一談它?各位有否看過<獵魔群英>?記不記得它的結局?結局是呂良偉、李賽鳳、胡慧中三人在大爆炸的樓宇內飛出窗外,然後定格,字幕打出「呂良偉、李賽鳳、胡慧中……三人在這個爆炸場面受傷……」又顯示出一些有關的報章報道。


我第一次看這結局時,真給它嚇了一跳!這是不是高達(Jean Luc Godard)的東西?記得高達也曾試過類似手法,如在《Weekend》中,一場面出現幾個路人甲乙丙,然後字幕打出「這三個演員是由意大利來的...」。為何一套這樣普通過普通的港產片,會有如此大膽的實驗手法?我問問阿媽,問她認為何如?她竟然認為這個結局無什麼問題...他們真的受傷嘛!...


當你看一套電影時,你會認為他們是在真實的,是他們的真實行為?還是虛構的故事、戲劇?答案當然是後者,沒有人會認為電影上的演員是在扮演自己,因它不是紀錄片。何況是真實的紀錄片,經剪接、旁白,也稍稍脫離了現實。但既然你認定了電影是戲劇,它便可以脫離現實,可以寫一些不合現實的人類行為、講的對白 等等,表現的景象也可與現實世界脫勾。這個想法在理論上是合理的。高達便是電影語言的最徹底的實驗者,亂剪接、不連戲、不合理角色、不合理的行為、脫離現實的對白/獨白、錯配樂...總之一切可以想到或想不到的電影語言,他也試過。


當然,若你看過高達的(任何一套)戲後,都會覺他是在「玩o野」,認為它不僅是一套看不明的電影,更是一套亂七八糟的電影。事實上,這不是他破壞了戲劇的公式(對他來說,戲劇沒有所謂公式),而是他破壞了觀眾看電影的習慣,觀眾雖然知道電影是不真實,但仍會要求一個合理的表達手法,最基本的連戲、"人講"的對白 等等。觀眾的習慣便是圍繞在在這一個「真實/虛構」中間。


法國實驗電影<人咬狗>(Man Bites Dog)便是利用這個「真實/虛構」的矛盾來建構整個故事/事件,拍成一套近似紀錄片的戲劇。其他手法如我在2001/11/17所述的。

電影史上其中一個最騎呢既Ending -- "獵魔群英" (好友承啟提供)



高達:「做乜模仿我?」(設計對白)


——轉載自原網站「史丹利五電影筆記

姿三四郎 (6/2/2001)


6/2/2001

發現圖書館的AV Center添了一批黑澤明電影的DVD,黑澤明名作大部分都看過了,如《七俠四義》、《羅生門》、《用心棒》、《 穿心劍》(椿三十郎)《天國與地獄》、《酩酊天使》,最喜歡的是時裝偵探片<野良犬>。今日看的是<姿三 四郎>,黑澤明的首作已顯獨具匠心,幾幕柔道決鬥皆有水準,最精釆的是最後一幕,三四郎與大師兄在草叢決鬥一幕,風吹草動,山雨欲來,氣勢磅礡。


《姿三四郎》全片觀看 (你可直接到1小時12分,觀看草叢決鬥一幕)




——轉載自原網站「史丹利五電影筆記

鎗王 (27/1/2001)


27/1/2001

今日買了張國榮主演《鎗王》的VCD。片中射擊遊戲的玩法講得很仔細,明顯不是玩玩下。故事很簡單不複雜,拍法很新鮮,一向對羅志良與爾冬陞的電影很有信心,前作<色情男女>已令人叫絕。張國榮再一次突破,演一個變態殺手,他的演出令我想起在《Taxi Driver》裏的Robert de Niro,他說"Are you ready?"時,不是很像"Are you talking to me?'嗎?
不太喜歡《鎗王》最後方中信與張國榮在戲院決鬥一幕,那些刻意表達子彈的效果很核突,記得以前亞記有套叫《鎗X》的劇集,又是有這樣效果,很難看!


——轉載自原網站「史丹利五電影筆記

再見中國 (26/1/2001)


26/1/2001

整日在家無聊得發慌,從'籠'底中摷出一套買了很久的錄影帶,是經典電影《再見中國》,這套片在百視達減價影帶堆中五元尋到的。幾年前已看過《再見中國》一次,但印象不深。今番再看,發現更多。

影片大膽不在話下,夠薑在七一年拍反文革 (甚至反共) 意識的影片。令人印象最深刻的是編導(唐書璇)在片末以幾個簡單的短場景交待主角逃到香港後對資本主義世界的失落無奈,可謂言簡意駭。很多影評人都極力讚揚影片這個段落。編導更在片中的幾個場景刻意以黑白影片拍攝,表現出宿命的世界觀,很有實驗的意味。


——轉載自原網站「史丹利五電影筆記

2007年6月12日

藍莓二夜 - 王家衛新作《My Blueberry Nights》兩段新預告片


早前轉載過王大導的康城參賽新作《藍莓之夜》的預告片,出現了兩位主角Norah Jones與Jude Law。康城電影節過後,還有二支《藍莓》的預告片可以在網上找到。其一出現了另一焦點人物Natalie Portman,演貌似女賭徒的性感小野貓,言行豪邁,似在引誘Norah犯罪;而另一支則有英國女星Rachel Weisz與成熟型男David Strathairn,但片段很撲索迷離,除了見Rachel"發爛渣",以及David不斷在酒吧沉思(典型WKW的男主角模樣),便是WKW的紅黃綠攝影"招牌貨"。





說真話,WKW的作品一向很洋化(歐洲化),放在港片可能會很獨特,但放在西方則未知效果如何?單看兩支新的預告片,筆者的第一感覺是:很"雲溫達斯"(Wim Wenders)的東西啊!

知道《藍莓》還有Tim Roth。如有發現有其出現的預告片,請第一時間通報。謝謝!

執到寶(電視劇) (19 to 25-1-2001)


19/1/2001

今日向同學借了< 執到寶>電視劇的VCD看,曾聽聞甘國亮這套短劇很破格創新。第一集的開頭已經是非常與眾不同,幾個短場景已交代了劇中人物的背景性格以及往後故事 的脈絡。故事圍繞著劉克宣一家人住的一棟舊樓,舊樓內還住了一家「鬼」,他們周不時上人身,搞笑的是除了父親外,全家人都不知家中鬧鬼。劇中各個演員都演 得非常之好,劉克宣的慈父角色很有粵語長片的影子,編導甘國亮演的癡利根亦很生鬼,最正還是黃韻詩的惡新抱,勢利兼尖酸刻薄,非常抵死。

21/1/2001

今日一口氣看了<執到寶>的二三四五集。故事到了第三集,節奏明顯減慢了。在第三四集內,無端端有鄭少秋客串演出,見秋官肥了不少。我特別喜歡阿仔(甘國亮)拍廣告的一段,阿仔與心儀的女朋友做茄哩啡,兩人在等埋位時互相嬉戲,幾個短場已很有詩意。

25/1/2001

今日再看<執到寶>七八九集,看畢了全套片。<執到寶>實在是一齣非常精釆的電視劇,不但演員演出一流,故事更是有笑有淚有溫情,有幾個場景很感人,令我真的流下眼淚來!

很久沒有一套電視劇令我如此感動,真正令我流過眼淚的戲,只有黑澤明的<留芳頌>一齣。


——轉載自原網站「史丹利五電影筆記

2007年6月10日

"標準"設計 - Criterion Collection (CC) 標準版DVD設計師談



個人最愛Criterion Collection DVD的封面設計。很多影迷與我一樣都為此而著迷,瘋狂收藏它的圖片製成WallPaper、或動手仿製封面,又或眾裡尋找Alternative封面——例如黑澤明《野良犬》與雲遜的《My Own Private Idaho》曾有兩個封面出現!但正式出街的只有一個。(見上二圖)

從網上閱讀到一篇Criterion設計師Eric Skillman親自講述設計DVD封面的歷程,跟大家分享一下:

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When I was designing the cover for Night and the City, I wanted to find a slightly different idiom to represent “noir,” to get away from the pulpy, dime-novel look that’s normally associated with that era and style. (Something I think illustrator Geoff Grandfield achieved brilliantly with his recent cover for Green for Danger, by the way.) I love that pulpy style on Raymond Chandler novels, but to me, most old film noir posters in that style pale in comparison to how artfully the films themselves are shot.

The film takes place in the seedy underbelly of the London Greco-Roman wrestling scene, which suggested plenty of design inspiration. I looked through vintage wrestling and boxing posters, and spent some time staring at the typography of my battered copy of Mike Watt’s “wrestling record,” Ball-hog or Tugboat? Another influence was the über-noir imagery of Frank Miller’s Sin City comics. I wanted to find a way to reproduce that ultra-high contrast look in a photographic context (this was before the Sin City movie, keep in mind), and the rough letterpress style of printing on those old wrestling posters provided me with my excuse.

My first round of comps basically split into those that said “wrestling” without really saying “noir” (though arguably with a title like that you shouldn’t have to work too hard to get “noir”):



…and those in which the two ideas were competing, rather than working together. Notice how the title is drowned out by all of the poster type, for example:



And then there were these, which I always kinda liked from a graphic perspective, even though they don’t really have much to do with anything:



So, some of the above seemed to have some potential, but none of them were quite there. Back to the drawing board, a little mix and match, and I wound up here:



Which was much closer. Some final tweaks to fix some outstanding problems (i.e. I realized I had just used that same background texture on Il Posto and I Fidanzati), and we arrived at the final cover:



At a certain point it was decided that Night and the City would pair with another Dassin noir classic, Thieves’ Highway, so I had to start thinking about the two designs as a matched set. With the aesthetic established by Night and the City, I tried a couple of different entry points to Thieves’ Highway. The seedy underbelly this time out was that of produce distribution. The wrestling poster type seemed to link nicely to the stenciled writing on Mike Figlia’s fruit crates, so I tried highlighting those:



I tried focusing on the truck itself, the setting for so much of the action:



I tried focusing on the romantic relationship:



But nothing quite captured the film. I kept thinking about the tragic ending, those apples strewn across the highway after the truck has careened down the hill. There was no single shot in the film that would translate to print with the right impact, so I had to try to capture the moment another way. I mocked up a quick sketch to test the waters. Everyone seemed cautiously intrigued by the idea, so I borrowed a digital camera and some lighting left over from a recent interview shoot. (Fun fact: we used that same spotlight to film the shadows that play over the Night and the City main menu animation—if I remember correctly, that’s Susan Arosteguy, Cat Tyc, and Ian Whelan walking back and forth in our old office atrium.) I bought a basket of apples. (Fun fact #2: the background texture on both of these packages is built from the paper grocery bag those apples came in.) I rolled the apples down the hallway leading from the art department past the audio offices, bumper bowling style, knocking them into each other as much as possible to get a nice chaotic pattern. I snapped a couple pictures, photoshopped them half to death, and incorporated them into the design:



I liked where this was going—I thought it was iconic, yet very specific to the film. It references the most intense scene in the film without really spoiling anything, but hopefully the air of menace and mystery are enough to draw in someone who hasn’t seen the film. I like a design that has those kinds of layers—you read it one way before you know exactly what it’s referencing, and another once you’ve seen the film. It sits nicely next to Night and the City but isn’t dependent on it. I recall it took a little convincing to get everyone to approve what was a relatively high-concept design, but ultimately I think we were all really happy with it.

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Scene from 《The Night and the City 》



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